Wire I PHOTOGRAPHY 3 = o 3 2 S 2 2 Ee WALTON eR): Cae JULIE OSWIN & STEVE .Wier PHOTOGRAPHY[DAVID & CHARLES BOOK CCopyrisht © Dani & Charles Linited 2006 Did & Charles ean FHW Publeatons ne, company 4700 East Galrath od CCincinnas, OH 45236 Fest publihed inthe UKin 2008 Text and istration: copyright © je Oswin and Stove Walton 2006 Jule in ane Steve Walton hase asserted ther ight o be denied as authors ‘ofthis warkin accordance withthe Copyright Des ae Patents Act, 1268, Aris ezervec No part of tie publaton may be reproduced stored ina retrieval stem, or vansmitted nary orm orby ary means electronic ‘x mechanical by photocopying recarcig ar otherwise, wtheut prior permission invwring rom the publiner ‘catalogue record for this book's avalable fom the British Libr. IseN-13.972-0-7153-2460 8 marcck ISBN 10.0-7153-2%60-8 hardback ISBN-13:978.0:7153.2465 paperback (USA onh) ISBN-10.0-7153-2461-6 paperback (USA ony) Printed in China by SNP Leefang for Dac & Charles Brune! 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Newton Abbot TQI2 4Z7 (no stamp requred UK er} US customers eal 800-269-0963 and Canadian customers cll 600-840-5220,WOC PHOTOGRAPHY David and CharlesContents Gita Meeting Your Clients Ig ‘The Pre-Wedding Shoot 20 Selecting Locations 2 The Wedding Photographer's Kit 4 Sequence of Events 2% Gitta Natural Poses 30 Romantic Poses 32 ‘Outdoor Poses 34 Dramatic Poses 36 Directing Groups 38 Directing Large Groups 40 Gitar Before the Ceremony 44 After the Ceremony 4% The Rings 48 Ac the Reception 50 Me) * The A-Z of Professional Wedding Photography Tips 140 * Index 142You cant fail witha shot of this nature. thas softness, lovely colour and, of course, the cutenaes ofthe ite gi peeping through. Nikon DSLR, 17-S5inm lens aaa Introduction From its earliest days until comparatively recently, wedding photography followed an accepted combination of formal, posed images of the happy couple and interminable family group images The composition of family groups conformed to rigid standards that remained largely unchanged for decades. The set expressions and regimented poses created by 19th-century wedding photographers were dictated partly by social convention and partly by a technology that required subjects to remain motionless throughout lengthy exposures to avoid image blurring, This stereotypical social imagery remained the standard until around the 1930s when the rapid development of affordable, basic ‘A more sophisticated and affluent society brought higher expectations, aspirations and the confidence of customers to dictate their photographic equioment, changing social habits and expectations, and the evolution ach to social own personal requirements, The days of wedding ph 1 with ust a medium: format couple of lenses, a flashgun, cf a less regimented ap tripod and four or five ols off are well and truly photography gained wider appeal, The major breakthrough in wedding photography must surely have come when some early over. S kind ty no longer requir pioneer realized the ‘Itestyle imagery’ ‘of approach. This is contemporary wedding potential in allowing his sitters to look photography and the shackles have been sappy forthe camera, cast of ing a moment in time, ke this ‘shot of ait bridesmaid holding the flowers, says more than words. ‘A.80-200mm lens allows you to got In close without crawing to0 much attention to yourself. Ensure you nave enough space to use this lens. Working quickly and under pressure ‘ata wedding doesn't give you a lot ‘of time to change lenses. ikon DSLR, 80-200mm ens, 125086 Get in close. The eye contact bbatween the bride and the ‘earnera makes this shot, and the expression in her eyes says Expression, expression! That isthe key 10 9000 wedding photography. Nikon DSLR, 28-60 1125600 at 4This award-winning photogreph was captured the ption. The brDigital Innovation Wedding photography as a developing genre has been accelerated by digital capture, improved image manipulation and album design software packages. AS carly adopters of digital technology, we have been at the oretont of contemporary wedding photography capture and presentation. n the early days, our Conversion to a digital workflow was met with scepticism and doubt by many of our industry coleagues. What has happanod in the intervening years is quite predictable. Those sceptics have ether now taken the gia route themseWves, or they have simply gone out of business. Iti a very stark fact of business that if you are unable to provide Product that in demand, you will cease to trade There is no doubt that digital technology has allowed us, and photographers in ay other fields, to expand our creative repertoire, both in photograpy and presentation. Our own early conve to digital capture and worklow has paid of, but there is no future and nothing © be gained by sitting at the top ofthe leaming curve and gazing down with smug saistaction as the competition frantically tries to catch up. Those who have both Creative abity as photographers and the willingness 1 gain expertise with evolving technology wil take the industry forward ‘Wedding photography isan excting place tobe at the moment, constrained only by the vision and enthusiasm of ts best pracitioners. Its a fuid environment and, for professionals, our businesses can grow witht Interested amateurs can bene ‘fom our techniques to extend their abitios and range Directing the bride to throw her veil ‘around created movement inthis image, “Again, the picture works because ofthe ‘bride's expression and the composition. Nikon DSLR, 28-80mm lens, 1460800 at 6.6 This is @ beautiful image ofthe bride and her daughter, Libby. The litle gi was fooking through the window for squires, Notice how the bride's face has been iurninated by the light reflecting off her cress. Flash would have killed the atmosphere her, 'Nkon DSLR, 28-80mm lene, 1/6080 at 4 "Creative Approaches Contemporary wedding photography, as refer tot inthis book, consists of ‘reas, which cal for diferent techniques land approaches. The documentary or photojouraisticstye is used forthe bride matter how c s stl a busin the need to st 1ep ahead of competi dh g photography has evolved into art where once it was a craft. Th to show some of the many cre assibiliies and provide the inspiration to look for more d thatAlways be propared forthe unexpected. This image was Created without intervention by Juli. The four bridesmaids were waiting forthe bride to finish her preparations. wil, thoy became restless and began to play on the sofa, faling backwards and Kicking their feet in the alr It would be impossibie to choreograph this moment or repeat it. Jue bcame the UK ‘Avant Garde Wediding Photographer ofthe Year atthe British Professional Photography Awards 200"; this image has the Contemporary but timeless quality that has become The importance of entering competion a success in major awards cannot be overstated. It is ane ofthe most effective ways to raise your profile and secure wedding bookings ~ everyone kes fo be associated with a winner! Nkon DSLR, 26-8ornm lens, 1/8086 at 15.6, bounced fash16 Preparation This chapter looks at the various stages that take place in the run-up to a wedding, from the first meeting with the clients to drawing up a schedule of events. In between, there is an informal meeting with the couple at the venue for the pre-wedding photo shoot. As well as providing them with an additional service, it is a good chance to find locations that will be used for photography on the day. The final phase of the preparations is the last pre-wedding interview with the couple, which takes place about two months before the big day. By this stage, all their plans will be in place and any changes to the original itinerary can be discussed. The suppliers will all have been appointed and the couple will have a confirmed guest list. Thorough preparation pays off ensuring that everyone has a clear knowledge of the planned sequence and timing of the day's events. An additional, vital benefit is that the couple and photographer have built a strong rapport and can greet each other as friends when the day finally arrives.18 sparation ABOVE AND RIGHT: At the frst meeting with potential chiens, display albums are shown and ‘the coupe’ likes and alslikes noted. It the chance to check that you can get on with leach other and bulls up the rapport that il >be vital onthe ay Nikon DSLR, 28-80 Meeting Your Clients The frequency of telephone enquiries about your services measures the effectiveness of marketing and advertising strate The percentage of those enquiries that convert into confirmed bookings are indicators of your product, the marketplace, your pricing, marketing strategy and yourselves, as perceived by the couple at the first meeting. jes. it would be a Most phone calls wilno doubt come as __sels the challenge of securing a booking disservice to both ‘result of recommendation, either personal from an enquirer whose maximum budget a tao aa or from t or as the clients and ‘the result of an Internet se The couple photographer if wi have four your webat,Ikod what thoy psite, are you available to phot want to know what ye offer that competitors cannot. Adk and publicity in bridal mage ding?" Monay isnot the e people. They will have an ing 188 also bring the acceptance of the value of wedd a booking was based pur on rancial motives.” in enquiries, but perhaps not so mary “The most frequent opening question